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Francesco Albanese, Tenor (1912-2005)
Giuseppe Verdi LA TRAVIATA
Usciamo dunque... Un di, felice
With Maria Callas, Soprano (1923-1977)
(Recorded 1953)
My personal opinion: Granted, there´s not much to tell about this forgotten tenor, but in the curious case of Francesco (Franco) Albanese (not related to Licia Albanese), we have a clash of opinions. Some said, he was a mediocre singer (Kesting wrote, his singing was brusque and vaque, and he called him "desolate"), for others he was a fine tenor with a beautiful built voice and expressive nuances (Kutsch and Riemens in their dictionary of "Great Singers"). Wikipedia wrote the same. What´s the truth? Well, let me say so: A lot of times, Mr. K. from Germany makes me laugh...
When Maria Callas recorded her only studio-TRAVIATA for Cetra in the early 1950s, Francesco Albanese was her Alfredo - and he wasn´t bad at all: Then 40, his voice was a little bit darkened. His timbre and expression in the recording is virile and resolute, but he´s never lacking self-control. Moreover: In "Ogni suo aver tal femmina" he shows stylistic self-assurance, never let himself down to be vulgar: Alfredo is unfair against Violetta, the behavior of an insulted young man. Maybe he is a hothead, but he was educated in the High Society: Alfredo has a sense of honor, and perhaps this was the only time he lose his temper. Alfredo is no Turiddu. And even the often refused Ugo Savarese as Germont Pére is emphatic (although he really was a provincial Baritone): Fearful, desperate and strong at once if necessary. The weak point is Santinis sluggish conducting. Albanese always sang elegant and sophisticated (And I don´t know, which recording Mr. K. really had heard, but it can´t be this one...) Albanese was also Callas partner in some stage-performances: TRAVIATA 1951 in Florence, ARMIDA 1952 again in Florence, and in TRAVIATA 1953 in Venice and Rome (In both productions, Germont Pére was sung by Ugo Savarese). It seems, Callas decision, to record TRAVIATA with this cast for Cetra was not accidentally. Francesco Albanese made his stage debut (after he studied in Boston and Rome) in 1940 as a light lyrical tenor. He sang in BARBIERE, DIE LUSTIGEN WEIBER VON WINDSOR and GIANNI SCHICCHI. Two years later, La Fenice and the Maggio Musicale Fiorentino saw him as Ottavio and Don Ramiro in LA CENERENTOLA. After the war he appeared in Lisbon, London, Buenos Aires and even in Budapest at the Hungarian Opera House - meanwhile singing lyric and spinto roles from Belcanto to Verismo (including a 1954 performance of AGNES DI HOHENSTAUFEN by Spontini opposite a young tenor from Ancona: Franco Corelli). When a new generation of tenors came up in the new age of the longplayer-record and TV, Albanese already was too old and heavyweight. And it may be, that Giuseppe di Stefanos singing was much more appealing and Mario del Monacos vocal eruption had more dazzling power. However, Francesco Albanese was lost in time, currently known only to experts. He was born in Torre del Greco near to Naples. Still the citizens speak of Albanese as "Il Caruso torrese". He died in June 2005 in Rome. For today´s sound example I chose the scene, when Alfredo for the first time realizes, that the woman he adores obviously is ailing. Please notice, how anxious Alfredo/Albanese sings, when he confesses his love to Violetta. Some years later, Bergonzi did the same in the famous Sutherland-TRAVIATA. Though he´s not singing like a "Tenore di grazia" (like Cesare Valetti), IMO Francesco Albanese gave a true sophisticated performance. On record, this Alfredo was one of Callas´best lovers...
What´s your opinion? Please let us know!
The complete overview: New link to "All singers in the list"
http://www.youtube.com/watch?v=YHJ9YvWjPGM